Zeiss Ikon Ikoflex Ic 886/16

Ergonomics have come a long way in camera design over the decades. I would love someone to explain to me though, why I and other photographers still love to pick up a twin lens reflex (TLR) camera for a day’s shooting. Something like the Zeiss Ikon Ikoflex Ic 886/16. TLRs by their nature are not something anyone could call ergonomic.

It might have to do with the fact that there is something very cathartic about looking into ground glass at waist level. It makes it feel like you are viewing another world, and when it snaps into focus you are hooked. I guess that just means that it is just fun. The TLR is a design which was very popular in the 1930s through to 1960s, with the Rolleiflex at the top of the list for many photographers.

Wynyard Station | Zeiss Ikon Ikoflex Ic | Kodak Tri-X, expired 10+ years

Over the years there were a number of competitors to the Rolleiflex, some as early as the Voigtländer Superb in the 1930s. Mainly, though, there were many TLR copies of the Rolleicord which is considered a less advance model. Zeiss has never been one to rest on its laurels, so their advanced model to tackle the market was the Ikoflex.

The Ikoflex is a camera I wanted but did not know I wanted until I found one. Within its very plain looking style hides an overengineered marvel. If that last statement makes you head spin, then think of me as I have tried to get my thoughts down on this camera.

Red dress and seagulls | Zeiss Ikon Ikoflex Ic | Kodak Portra VC 160, expired 15 years

This camera has some interesting quirks which can also render the camera inoperable at times. It does get me a little nervous every time I take it out. I remind myself each time of the sequence of the steps of using it, specifically loading it. Even my repair person walked me through the process at one point!

When I started using the Ikoflex Ic about two years ago, a few things impressed me rather quickly, including a built-in meter and the quality Tessar lens. The build quality is really good, it is not a tin built version of a Rolliecord copy.

Looking over Bondi Beach | Zeiss Ikon Ikoflex Ic | Kodak Portra VC 160, expired 15 years

I got the Zeiss Ikon Ikoflex IC 886/16 roughly three years ago and have been using it for a couple of those. During that time, it has challenged me but always sucked me back in with the results. A bit later we will look how I have got on with this camera but first let’s find out a bit more about it.

Sydney | Zeiss Ikon Ikoflex Ic | Cinestill XX

History

Zeiss Ikon leapt into the world of advanced TLRs with the Ikoflex (sometimes referred to as Ikoflex 1) in 1934. It had a designation of 850/16. It got the nickname “Coffee can” due to its shape. It produces 6×6 negatives on both 120 and 620 film. Like the Voigtländer Superb it transports the film horizontally, which is not common in TLRs. Even more uniquely it has separate counters for each of the film types. Neither of these features were kept in future models at some point.

A couple of lens options where available, Novar 8cm f/6.3 and f/4.5. They were also available with shutter options of Derval, Klio and Compur-Rapid.

Gallery: Old Ford | Zeiss Ikon Ikoflex Ic | Kodak Gold 200

The original Ikoflex was superseded 1936 with the Ikoflex II, ironically renamed the Ikoflex I later in the production run. It started with a designation of 851/16, later replaced with 850/16 which was the same as the first model. I guess Zeiss’s numbering isn’t complicated enough. This model could only use 120 film.

I will not try and cover all the differences as they are covered in the Zeiss wiki pages. The models then ran through to 1956 with designations of Ikoflex Ia, Ib, and then Ic (this model).

Usain Bolt celebration | Zeiss Ikon Ikoflex Ic | Cinestill XX

In fact, the models are not in numerical order at all, as models II and III predated quite a few of the I models.

The Ic was made until the very end of the Ikoflex production, in 1960. This model features a selenium meter beneath the front top panel, with metering displayed at the top of the viewfinder ground glass. Options offered where either the Novar or the Tessar lens.

The final and most advanced Ikoflex model though, is the Ikoflex Favorit.

Zeiss Ikon ad from 1957, with the Ikoflex Ic in the bottom right.

Camera Specifics

The Zeiss Ikon Ikoflex Ic is a West German medium format TLR that uses 120 film. This model specifically is the 886/16 Lpms model. The model number means it has the following specifications, a Teronar f/3.5 viewing lens, Tessar 75mm f/3.5 taking lens, and a Prontor-SVS shutter.

The lenses are coated with the Zeiss T-coating. Specifically, it is a single-layer magnesium fluoride (MgF₂) anti-reflection coating which was the standard in that period. Construction of the Tessar lens is with four elements in three groups. By getting geeky I can tell you the front element is a positive crown glass element, the middle is a negative flint element, with the final group being a positive doublet.

Focusing on the Ikoflex Ic is standard TLR focusing where the entire front panel, carrying both the viewing and taking lenses, advances on rails when the focus knob is turned. Focusing is via a single large focusing knob positioned on the left-hand side of the body. This knob is broad and deeply ridged to move the entire front standard on a helical track.

The knob is marked with a distance scale in meters or feet (feet on this copy). It also features a depth-of-field scale indicator, which works in conjunction with the aperture setting to show what will be in acceptable focus at a given distance. Closest focus is at 90cm (3ft).

The large left-hand focusing knob doesn’t just carry the distance scale. Zeiss integrated an Exposure Value (EV) calculator system directly onto the knob, designed to work in conjunction with the uncoupled selenium meter.

The built-in uncoupled selenium exposure meter is mounted on the front panel above the viewing lens. To use the exposure meter, the meter cover must be lifted, which is usually down to allow the selenium meter a longer lifespan. The selenium cell drives a match needle that is visible in a small meter on the focusing ground glass. These are numbers in semi-circle ranging from two to sixteen or the Exposure Values.

To use this, first make sure the inner panel of the knob is set to the correct film speed, which are in ASA (ISO converts almost 1-1). The range available is from ASA 5 to ASA 320.

The match needle reading will align with one of the EV numbers on the focusing knob. To use the reading, rotate the outer dial on the focusing knob to match the EV number indicated by the meter needle. Once set, the knob’s calculator scale shows all the equivalent shutter speed/aperture pairings that correspond to that EV. You can then choose the pair you prefer (e.g. 1/125 sec at f/8, or 1/60 sec at f/11 etc.) and set those values manually on the shutter and aperture selector on the front.

This means the focusing knob essentially doubles as an exposure calculator, saving the need for mental math or external charts. This design, by combining focusing and exposure aids in one control point is a feature Zeiss advertised heavily at the time, according to some sources and some old advertising.

On the front panel, specifically the taking lens, are the exposure controls mentioned above. The aperture is in a little window on the right side and controlled by a lever that is by the left side of the lens. Apertures available for the Tessar lens are f/3.5 through to f/16. The shutter speed is in a little window on the left side and controlled by a wheel at the bottom of the lens. The range of speeds available are 1/300 second through to one second and bulb.

Towards the bottom of the lens, on the right, there are three flash settings. These are V, X and M. V is actually for the self-timer and stands for the German word Vorlaufwerk. X is for electronic flash and stands for Xenon. Finally, M is for the old flashbulbs and stands for Magnesium.

Just above the aperture window is a cocking lever which is used to charge the shutter. It is linked to the film advance and will not allow a double exposure.

Speaking of releasing the shutter, the shutter release lever is on the right side of the camera. It folds in against the camera when not in use to avoid accidental firing. A quick flick outwards and it is ready to go, assuming the shutter has been charged. There is also a remote cable shutter thread at the top of the camera on the right side as well.

Viewing to frame a photo has a few options on this camera. Firstly, just opening the hood gives you the beautiful ground glass view everyone loves on a TLR. The image is reversed as per normal. By lifting the front panel of the hood, you also get a sports finder option. Finally, you can lift the magnifier, which will allow you to refine your focusing precisely.

Now we come to one of the more complicated parts of the Ikoflex Ic. Loading film is not as straight forward as most TLRs. As per the majority of them, the film transports from bottom to top.

The Ikoflex Ic’s film handling is more complicated than many TLRs, combining a red window start with a mechanical frame counter and interlocks. To avoid frustration, there’s a specific sequence to follow.

Before loading, make sure to wind the frame counter thumb wheel all the way past “12.” This wheel is just beside the counter on the right side. This resets the mechanism so the counter can be set correctly. If you skip this step, the camera can lock up when you try to advance.

Open the back and place the fresh roll of 120 film in the lower chamber. The empty spool goes in the upper chamber.

Thread the leader across the film plane and onto the take-up spool. Turn the advance knob slightly to secure the film. The advance knob is on the right side towards the back. It also has film reminder details within the knob.

Wind the advance knob while watching the red window on the base of the camera. Stop when the number “1” appears. Close the window cover that’s on the red window.

Now, use that thumb wheel beside the counter to set the frame counter to “1” by pressing into it and rotating it as per the arrow on it. From here, you can ignore the red window.

Each time you advance the film with the knob, the counter moves forward automatically. The interlock prevents double-winding.

As per above, the shutter is cocked separately by the lever on the Prontor-SVS shutter.

Rocks at Manly Beach | Zeiss Ikon Ikoflex Ic | Kodak Portra VC 160, expired 15 years

The Experience

I picked up the Zeiss Ikon Ikoflex Ic in an auction in Belfast, where I came away with several cameras. This was an auction where I was also sent into a panic. I assumed the shipping would be pricy, but when the auction house then quoted me a price twice as much as the cost of the cameras I bought, I was very surprised. In my planning, I had considered the fees, and estimated the shipping based on previous purchases from the UK, but this was way over. A package from Northern Ireland is obviously a lot more expensive than England to ship to Australia.

Luckily, I had an idea and asked if I could arrange my own shipping. They also promised to investigate it for me, and that they would pack as efficiently (and safely) as possible. I tried Royal Mail, and it was also very expensive. Google was my friend, and I found a local shipping company that had discount rates, good reviews and included insurance. As quickly as I could, I put them in contact with the auction house, and the cameras were on their way.

Life Savers surveying the beach | Zeiss Ikon Ikoflex Ic | Kodak Portra VC 160, expired 15 years

When the cameras arrived, I excitedly opened the box. The Ikoflex Ic unfortunately was jammed up. I had been reading up on them, and this is common if a user sometimes gets things way out of sequence. As it was, I always expect to send cameras from an auction for a service, so off to Jess at Viva La Film it went.

A few weeks later I dropped by, and the camera was all ready and pristine. That is apart from one thing that Jess told me that she had freaked out on. The night before, she was cleaning it ready for me and had put some water on the ground glass while it was out of the camera. It was ok, but when it went onto the numbers for the meter reading, they started to dissolve.

As I know that things like that happen, I was not going to get too upset. Jess though, had already ordered another ground glass from Germany, this time with the numbers etched in and would replace it for me in a subsequent visit at no cost. In the interim time, she had hand drawn the numbers back on for me to use the camera. In a strange sort of way, I kind of liked it, it added a story to the camera.

Under the street art | Zeiss Ikon Ikoflex Ic | Kodak Tri-X, expired 10+ years

To also show how complex this camera can be, Jess even walked me through the loading procedure and shooting sequence.

So, with an Ikoflex all fixed up and ready to go, I loaded some film into it. I went into Sydney Central Business District on a busy day and started to shoot with some Ilford Pan F. It did not take long for me to get something wrong. Little did I realise at the time, when you move the flash selector to “V”, it means delayed exposure. It meant I ended up with the following lucky accident.

Crazy tunnel | Zeiss Ikon Ikoflex Ic | Ilford Pan F Plus

Odd shots aside, when I got my film back from the first few outings, that is when I understood why these cameras do have a bit of a following. I do realise they were created in response to the Rolleiflex, but the Tessar on this thing is a real performer. Such a crisp clear picture which just draws you back into the moment when you were looking at the image in the ground glass viewfinder.

But I can hear the question, “How does it do with colour film?”. Keeping in mind that Zeiss has always been a lens company, and they even supplied lenses for the Rolleiflex, so as expected, the results using colour were just as impressive. The single coating helps with keeping the natural tones while giving the nice gradation in black and white.

Behind the elevator shaft | Zeiss Ikon Ikoflex Ic | Kodak Portra 160 VC, expired 15 years

It’s not as contrasty as modern multi-coated lenses, but has a pleasing, slightly gentler tonality. The T-coating has good flare resistance and produces good contrast. It gives that classic “Zeiss look”.

Sharpness is very good with the Tessar. Even wide open it is consistent, it only falls off a little, but not significantly. By f/8 it has edge to edge sharpness. Being a four-element Tessar, out-of-focus rendering is smooth for portraits. Backgrounds are slightly busy at wider apertures, but this is common for Tessars.

I did notice some vignetting, especially at the wider apertures. I also noticed some flare, even with the coating, but not severe enough to even worry me.

Umbrellas | Zeiss Ikon Ikoflex Ic | Kodak Tri-X, expired 10+ years

Using the Ikoflex Ic is a really nice experience, that is if I follow the sequence of the steps. I love looking into a waist level finder and found viewing through this one nice and adequately bright. In sunshine it is easy to focus, but in dimmer light I had to use the magnifier. Where critical focus is required, I always use it anyway.

A minor annoyance I have with this camera is that the exposure settings are on the front of the camera. So, when I want to check the aperture or speed setting, I need to turn it around to view them. It is something I would have quite liked to see done a bit differently.

Sitting at the beach | Zeiss Ikon Ikoflex Ic | Kodak Portra 160 VC, expired 15 years

Something Zeiss got very right is the position of the shutter release lever. Most TLRs have it right down the bottom, but the Ikoflex has it halfway down on the right-hand side. It feels very comfortable, allowing release of the shutter with the thumb. I feel that makes it steadier than the other way around.

Using the meter takes a bit of mental power. It is very cool seeing the needle move when I open up the flap covering the metering cell. But then, to use that number, align it on the knob on the left side, and finally adjust the exposure controls to match is not the fastest process. It does work though. This is also something Jess fixed up on the camera, where the same shunt resistors are not available now, she used a combination of them to ensure it was close to the same voltage.

Are you photographing me? | Zeiss Ikon Ikoflex Ic | Cinestill XX

I do tend to use a meter reading and then adjust mentally as I shoot for a while, so not a big issue. It is just really nice to have a meter on the camera.

I have been using the Ikoflex since 2023, so about two years at this point and it will be a camera I will keep using. Overall, the results are outstanding, the camera is well built and solid, but can be a little delicate in the mechanism if not used in correct sequence. With a bit of care and regular use, this is a great camera to use. I recommend you consider all this if you are thinking of getting one, but if you do, you will definitely enjoy the results.